• This series of two sided works on paper is a collaboration with writer Sam Anderson. He responded to Melissa McGill’s public art project, Constellation, with typewritten quotes and original pieces. McGill marked the typewritten pages with graphite, pastel, watercolor, Sumi Ink, and charcoal. Then, punching out the periods, punctuation, pauses and/or spaces in the written works with a Japanese hole punch, she created new constellations, illuminated when light shines through the pages.

  • The following series of works on paper are one sided works on paper. Sam Anderson’s typewritten work is shown in the title beneath each image.

  • The ruin of Bannerman’s castle.
    Is like the shell of a crustacean.

    It changes color, depending.

    In the rain it looks red.

    Often it looks mud brown.

    2016, Pastel, graphite and charcoal on typewritten paper.

  • A rain dance.
    A void dance.

    No island research of any kind.
    No island of any kind.
    No island.
    No research.

    From now on I will only know what I know now.
    I know now:

    avoidance.
    managing intervals.
    not body.
    turtling.
    misdiagnosis.
    no island of any kind.
    west coast.
    east coast.
    “on top of things”
    ‘time is a caucasian thing’
    “human among humans”

    2016, Pastel, ink, graphite and charcoal on typewritten paper.

  • Major stars in the river Constellation (a rough map)

    Cursa, Keid, Beid, Zaurak, Rana, Azha, Angetenar, Thelmin, Acamar, Archernar
    (at the end of the rive: the 10th brightest star in the sky)
    (7 times the mass of the sun)

    2016, Pastel on typewritten paper

  • Eridanus (a-RID-a-nuss)
    The river constellation

    Eridanus Supervoid—
    The largest structure ever identified by humans is the Eridanus Supervoid: a space in which there should have been 10,000 galaxies but instead there was nothing. It is inexplicably cold, large & empty. It was discovered by people on the small warm island of Maui. “It’s like the Everest of voids. “ – The Cosmos News. “The super-void appears to be roughly spherical though it’s internal structure may be more complex, containing smaller voids & filaments. “- Sky Telescope. The supervoid is about 900 million light years across.

    ///Cosmic Microwave Background
    Wilkinson Microwave Anisotropy Probe
    Integrated Sachs-Wolfe Effect ///

    2016, Pastel, graphite, Sumi Ink, metal powder on typewritten paper

  • B. *M*

    Perhaps in an ambulance, certainly a vehicle of some kind. The truth is I don’t know how much, the within, all that inner space one never sees, the brain & heart & other caverns where thought & feeling dance their Sabbath. I crouched like Belaqua, or Sordello, I forget. But that ius not, I mean my hand, what I wish to speak ofnow, everything in due course. Constipation is a sign of good health in Pomeranians. Yes, it was an orange Pomeranian, the less I think of it the more certain I am. And yet. Let me try and explain. What I need now is stories, it took me a long time to know that, & I’m not sure of it. To restore silence is the role of objects. I am still alive then, that may come in useful. And I, what was I doing there, and why come? These are things we shall try and discover. But these are not things we must not take seriously.
    I can’t believe it.
    No, I will not lie. I can easily conceive it. Let me hear nothing of the moon, in my night there is no moon, and if it happens that I speak of the stars it is by mistake. A & C I never saw again. I know how to summon these rags to cover my shape. I wonder what that means. It was a chainless bicycle, with a free-wheel, if such a bicycle exists. Dear bicycle, I shall not call you a bike, you were green, like so many of your generation, I don’t know why. To describe it at length would be a pleasure. This should all be re-written in the pluperfect. What a rest to speak of bicycles and horns. Unfortunately, it is not of them I have to speak, but of her who brought e into the world, through the hole in her arse if my memory is correct. First taste of the shit, the awful cries of the corncrakes. We were so old, she and I, she had had me so young, that we were like a couple of old cronies, sexless, unrelated, with the same memories, the same rancours, the same expectations. She never called me son, fortunately, I couldn’t have borne it, but Dan. I don’t know why, my name is not Dan. I called her Mag because for me, without my knowing why, the letter g abolished the syllable Ma, and as it were spat on it, better than any other letter would have done, the Countess Caca, a few niggardly wetted goat-droppings every two or three days. The room smelt of ammonia, oh not merely of ammonia, but of ammonia, ammonia. I forgive her for having jostled me a little in the first months and spoiled the only endurable, just endurable, period of my enormous history, if ever I’m reduced to looking for a meaning for my life, you can never tell, it’s in that old mess I’ll stick my nose to begin with, the mess of that poor old uniparous whore and myself the last of my foul brood, neither man nor beast. I was out of sorts. They are deep, my sorts, a deep ditch, and I am not often out of them. That’s why I mention it. I managed somehow, Being ingenious. And suddenly I remembered my name . Molloy .
    They paid no attention to me and I repaid the compliment. Then how could I know they were paying no attention to me, and how could I repay the compliment, since they were paying no attention to me? I don’t know. I knew it and I did it, that’s all I know. These are all sentences I underlined in the first 23 pages of Samuel Beckett’s novel *Molloy*. SA

    2016, Sumi Ink and metal powder on typewritten paper with a second piece of paper mounted behind the top layer, coated with silver metal dust, which shines through the punched holes.

Projects

  • 100 Breaths

    This series, shown here in the studio, is titled 100 Breaths (2016) and consists of 100 works on paper. The artist made each drawing with her breath, blowing metal dust suspended in varnish to create drawings that refer to both geography and the body. The gold, copper and silver forms are highly responsive to ambient light and change throughout the day, as the light changes in the room. They flare up and soften as the viewer moves and looks at them from different angles.

  • Belles

    The Belles forms are made from casts of the hollow interior spaces of 10 different female porcelain figurines. They are positive versions of these hidden empty spaces, which retain a faint and almost ghostly resemblance to their outer shells.

    As viewers move around the space to ring The Belles, the work activates the space sonorously. The bell’s sound is juxtaposed with the figure’s abstraction, resonating from the form it once held.

  • Constellation

    Constellation is a large-scale sculptural project installed around the ruins of Bannerman’s Castle on Pollepel Island in the section of the Hudson River that passes through Hudson Highlands State Park. Every evening, as the sun goes down, starry lights emerge one by one with the stars of the night sky, creating a new constellation and connecting past and present, light and dark, heaven and earth.

  • New Project— The Campi

    Curated by Chiara Spangaro

    Location – Venice 

    Campo Box (Ghetto Nuovo) is on view through June at Giorgio Mastinu Fine Art, San Marco 3126.

    The rest of the exhibition was on view from May 9th to May 14, 2017, coinciding with the opening of La Bienniale di Venezia-57th International Art Exhibition.

    The Campi is a sculptural sound project that invokes daily life in the Venetian Campo (public city square), exploring the conversation between the visible and the invisible that defines public space.

    The project was presented at three locations in Venice, creating an opportunity to explore hidden gems in the city. See more below.

    Header Photo: Luca Marella

  • Betweens

    Between is a series of digital prints on cotton rag paper. Image groupings combine photograph fragments of the spaces between the figures in family photographs.

  • Between the Two

    This body of work explores mapping negative spaces and shadows in space with blown black glass and inky black rubber drawings.

  • Palmas

    Palmas activated the Quarry Pool and encircling paths at Manitoga: The Russel Wright Design Center. It was a two part project : A surround sound installation and a live performance. The work takes its name from the improvised, rhythmic clapping that is an integral part – the heartbeat – of Flamenco. Palmas animated the site aurally, inviting a heightened sense of awareness of the site’s landscape.

  • Indian Point Nuclear Power Plant erased, replaced with blossoming cherry trees

    These digital renderings depict Melissa McGill’s proposal to erase the Indian Point Nuclear Power Plant and replace it with cherry trees.

  • Slipside

    Slipside’s forms were created by casting the hollow interior spaces of ordinary, mass-market porcelain figurines. The results are positive versions of these empty spaces that possess a faint ghostly resemblance to their outer shells. The porcelain castings were made during two Arts/Industry residencies at Kohler in Wisconsin.